ARNO EICHHORN | limited edition prints – Portfolio 10/2015

Portfolio_10_2015
ARNO EICHHORN
WHAT THIS IS
WHAT WE DO
We are a publisher of limited fine art edition prints by
contemporary international artists. ARNO was founded
in 2013 by an artist to make challenging artistic
positions accessible to larger and inspired audiences,
and to increase the outreach and autonomy of the
participating artists.
In this initial portfolio of ARNO, we present a
carefully curated selection of 51 inspirational artworks
by 17 professional contemporary artists from 11 cities
across six countries. And as you read this, we are
already working hard on further expanding our portfolio
of challenging artistic positions.
Each edition is exclusively developed for ARNO
in close dialogue between the artist and our curator –
a process that often involves commissioning new
work, sometimes over a period of several months. At
ARNO we believe that exceptional art takes time
to mature. We are not a fast food service, nor are we
a symptom of fashion.
By applying a straightforward and down-to-earth
pricing policy – ranging from €50 to €2,400 – we aim
to be the ambassadors of a democratisation
of collecting high-quality contemporary fine art.
HOW WE PRODUCE
WHAT YOU WILL GET
GET IN TOUCH
To print each new edition our specialists carefully
select the right paper stock, so each artist’s contribution
can grow to its full individual potential. We don’t
subscribe to all-in-one solutions. Each work of art is as
individual as you are.
We are able to provide you with unique fine art
edition prints, and ensure longevity and perfection
in both material and content. The archival fine
art papers in use are designed to preserve colour
and detail for a century or more, and the high-density
pigments provide rich and long-lasting colours
and tonalities. In fact, the accuracy and quality of our
prints meet museum standards!
You will find detailed information on print sizes, edition
runs and pricing at the end of this portfolio. If you would
like to check the availability of any specific edition, or
if you have any other questions, please don’t hesitate to
get in touch with us: collector@arnoeichhorn.com
So is our paper choice. We only use the finest archival
fine art and photographic papers, to which we
apply only the highest quality archival pigment inks
during our production.
All editions are strictly limited and come accompanied
by our certificate of authenticity applying state-of-the-art
security standards.
We hope you will enjoy our selection, and we would be
delighted to welcome you to our community of collectors!
Sign up for our news: www.arnoeichhorn.com
Those who coincide too well with the epoch,
those who are perfectly tied to it in every respect, are not
contemporaries, precisely because they do not manage
to see it; they are not able to firmly hold their gaze on it.
Giorgio Agamben, Nudities, 2011
ARNO EICHHORN | ARTISTS
DIANA ARTUS | Germany, 6
EMMA HOLMES | United Kingdom, 30
SASCHA POHFLEPP | Germany, 54
ALIA BILGRAMI | Pakistan, 10
MATTHIAS KRAUSE | Germany, 34
SCOTT ROBERTSON | United Kingdom, 58
BENJAMIN BOHNSACK | Germany, 14
MARIAN LUFT | Germany, 38
SHELLEY ROSE | United Kingdom, 62
JAMIE BRADBURY | Canada, 18
KALOAN MEENOCHITE | Brazil, 42
TIMOTHY SHEARER | United States, 66
GABO GUZZO | Italy, 22
SASCHA MIKLOWEIT | Germany, 46
REUBEN WU | United Kingdom, 70
PAUL PHILIPP HEINZE | Germany, 26
PAUL O’KANE | United Kingdom, 50
6
DIANA ARTUS | Germany
Those aren’t your memories, they’re somebody else’s | 2011
DIANA ARTUS | 7
01.01.
08.06.
10.09.
DIANA ARTUS | 8
01.01. (detail)
08.06. (detail)
10.09. (detail)
DIANA ARTUS | 9
BIOGRAPHY
ABOUT THE WORK
Diana Artus is a Berlin-based visual artist with
a strong focus on the perception of urban space, its
imagery and the interdependency between city and
mood. The base of her creative process is photography,
which results in surreal reinterpretations of urban
phenomena and architectural bodies. This often takes
the form of sculptural image objects or images of
images. By transforming digital photographs into original
image objects with an analogue and unique character,
she constantly stretches and transcends the limits of the
photographic medium.
‘Implants. Those aren’t your memories, they’re
somebody else’s,’ says Deckard to Rachael in a scene
from the movie Blade Runner, when she tries to
convince him that she is human and not a replicant by
mentioning that she has memories. But the memories
of replicants are artificial and implanted to better keep
these human clones and their possible ambitions
and desires under control.
Diana received a Magister Artium degree in German
Literature & Language from the University of Leipzig in
2000, and a Diploma degree in Photography from
the Academy of Visual Arts Leipzig in 2007, where she
also completed a Meisterschülerstipendium (Master
Student Scholarship) in 2010.
She has also been awarded several grants, including
a studio grant at ISCP New York, 2008. Significant
selected shows include several solo shows at Galerie
Metro Berlin, 2010-2012; Art Cologne’s New Contemporaries,
2011; Galerie Alexander Levy, Berlin, 2013;
Fabra i Coats Center of Contemporary Art, Barcelona,
2014; Tokyo Institute of Photography, 2014; and Art
International Istanbul, 2014.
The works commissioned by ARNO question the
truth of memories and the coherence of human
recollection. Resulting from a process of continuously
re-photographing the photographs while adding
a series of different and disturbing analogue filters, these
are images of images, blurring and dissolving into
a visual noise. Only some urban elements are clearly
visible – somehow fragile, and not necessarily
truthful fragments of reality.
The images depict their own fundamental instability –
their fugacity and uncertainty bear a resemblance to
a mémoire involontaire: a single and unexpected
moment of a sudden coincidence of different space and
time layers. La mémoire involontaire evokes images of
the past not seen and registered until the future –
which is the present moment.
10
ALIA BILGRAMI | Pakistan
Banainge Pakistan | 2013 – 2014
ALIA BILGRAMI | 11
Still Tulips Run Deep
Banainge Pakistan – We will build Pakistan
Black Tulips
ALIA BILGRAMI | 12
Still Tulips Run Deep (detail)
Banainge Pakistan (detail)
Black Tulip (detail)
ALIA BILGRAMI | 13
BIOGRAPHY
ABOUT THE WORK
Alia Bilgrami’s artworks contain fragments from
a personal sense of dislocation, endeavouring to portray
the dichotomy that exists when you have both a sense
of belonging and of being scattered all at once. The
notion of displacement is a topic that has featured
extensively in her practice. Initially using a cardboard
box and maps to visually translate the feeling, her
work has shifted slightly in terms of both imagery and
resonance. Settling on the tulip as a symbol to represent
displacement in her artwork, she uses labour-intensive
media such as photo emulsion, analogue photography,
contemporary miniature painting and solar plate
etchings.
In the series Banainge Pakistan (We will build Pakistan),
Alia’s use of the flower is symbolic. The tulip’s history stems
from Persia and Turkey – representing true love, it was
first cultivated as early as 1000 AD. It was appropriated
much later by Western Europe and the Netherlands in
the 17th Century, where it ostensibly turned into a symbol
of capitalism as tulip mania spread all over Europe.
Essentially, the tulip was displaced and appropriated.
Furthermore, what it represented in the East is in
direct contrast to what it came to represent in the West.
In her recent practice, Alia expands her traditional
and highly skilled technical approach through a poetic
contemplation on the fall of capitalism globally and
how its pieces come apart locally. She holds an MA in
Fine Art from Central Saint Martins, London, 2010,
where she won the Cecil Collins Memorial Award, as well as
a BFA from the Indus Valley School of Art & Architecture,
Karachi. Her first solo show, Tulipmania was at the
Rohtas Gallery, Islamabad, 2011. Alia has exhibited
extensively in Karachi, Lahore, Islamabad and internationally.
She is currently a curator at Khaas Art Gallery
in Islamabad, Pakistan, where she lives.
Alia’s tulip prints speak of this dichotomy and are
juxtaposed with both sinister as well as more
commonplace elements of everyday life – highlighted by
her use of newspaper clippings. Life always seems to
go on, with the good and bad moments very much a part
of our lives whether we accept them or not. Every
human life is important and every life is connected to
many, many others who are in turn affected in some
way. The tulips in this series represent individuals and
the tapestry formed by human relationships.
14
BENJAMIN BOHNSACK | Germany
The Day I Met John Lurie | 2014
BENJAMIN BOHNSACK | 15
#1
#2
#3
BENJAMIN BOHNSACK | 16
#1 (detail)
#2 (detail)
#3 (detail)
BENJAMIN BOHNSACK | 17
BIOGRAPHY
ABOUT THE WORK
Born in Münster, Benjamin Bohnsack currently lives
and works in Düsseldorf, Germany. After enrolling at the
academies of fine arts in Münster and later in Düsseldorf
to study painting, he decided to embark on a rather
subjective approach to make visible what is usually
regarded to be unimportant in the rational configuration
of the modern mindset.
Benjamin first saw John Lurie act in some of
Jim Jarmusch’s movies from the eighties. Responding
intensely to any visual or auditory input, he soon
discovered Lurie’s music and film projects as an
inspiration. In April 2013, Benjamin went to the movies
in Brooklyn together with a good friend. When they
arrived at the cinema’s entrance, John Lurie
came out to have a smoke. Although neither of them
had a lighter, they took their chance to chat to Lurie.
In a world that is ambitious about inventing ways of
controlling people’s live and claims that only what can be
explained is of value to us, Benjamin’s aim is to create
abstract paintings of around two metres and larger,
enabling the recipients to connect to what they perceive
and experience a kind of ‘paint trip’ themselves. His
materials are colour, space, light and sometimes shape.
For the triptych commissioned by ARNO, Benjamin
decided to utilise documentary photographs he
completed in the past. Some of the originals were lost or
damaged over time and do not exist anymore – their
photographic documents being the only witness of their
existence. Exchanging canvas, colours and brushes for
monitor, keyboard and microprocessors, he translated the
concerns of his painting practice into the digital realm.
The result is a synthetic digital fusion of multiple
document images into singular painterly entities, to
create digital paintings that could not have come
to life in another way.
This work, emerging from the coincidence of a certain
New York evening, however, reminds us of the
upbeat rhythm in some of Lurie’s musical pieces.
18
JAMIE BRADBURY | Canada
The colonials | 2015
JAMIE BRADBURY | 19
The wretched of the Earth
Moses of her people
Venus’ Hottentot
JAMIE BRADBURY | 20
The wretched of the Earth (detail)
Moses of her people (detail)
Venus’ Hottentot (detail)
JAMIE BRADBURY | 21
BIOGRAPHY
ABOUT THE WORK
Born in Canada, Jamie Bradbury lives and works
in London, UK and Montreal, Canada. His work primarily
explores post­colonial social and political policy through
the use of drawing, painting, sculptural installations and
writing. He often employs his Jamaican-Irish ancestry
to investigate and highlight where these subjects intersect,
or overlap, while also citing W.E.B. Du Bois’ theory of
‘double consciousness’ as a major influence to the evolution
of his work.
Jamie’s scans of original graphite drawings act as
simulacra, exploring how embedded meaning
increasingly becomes tenuous or disparate through the
process of dissemination. This mirrors how personal
and collective narratives of traditionally marginalised
groups continuously and increasingly become commodified
through the lens of the colonial gaze, yet progressively
lose real meaning. The museum collapses into the
shopping mall. It also demonstrates the historical realities
and the contemporary ramifications associated with
representation. These images explore the power
relationships continually played out through forms of
representation, questioning who has the power to decide,
what gets represented, and to whom.
In 2010, he graduated from the Central Saint Martins
College of Art & Design MA Fine Art programme in
London, while being exhibited in Canada and throughout
Europe in exhibitions and fairs such as the Arte Fiera,
Italy; Santorini Biennale, Greece; AACDD Festival, UK;
and Art Toronto, Canada. Jamie’s work has appeared in
publications and media such as Canadian Art, Bravo TV,
CBC News, Canada; Garageland, Sky 1’s Pineapple
Dance Studios, UK.
His works are held in private and public collections
such as the National Portrait Gallery of Canada. In 2014,
he was shortlisted for the Jerwood Prize curated by
Photo Works, and participated in a conference entitled
‘Images of Whiteness’ at Oxford University, UK, along
with a residency in Atina, Italy.
Drawing from both personal and more general
culturally specific histories, Jamie attempts to highlight
and question the boundaries of both psychological
and physical spaces that enable the formation of the self
and other, whilst focusing on the constant push/pull
relationship between these inhabited spaces. This work
concerns the creation of a historical space for the
re­presentation of African diasporic people outside of
the traditional colonial commodifications of ‘blackness’,
and standing apart from the Eurocentric viewpoint
employed throughout the canon of Western art.
22
GABO GUZZO | Italy
L.I.A. | 2014
GABO GUZZO | 23
Lessons
I picked up the silence
A regression
GABO GUZZO | 24
Lessons (detail)
I picked up the silence (detail)
A regression (detail)
GABO GUZZO | 25
BIOGRAPHY
ABOUT THE WORK
Gabo Guzzo is an Italian artist based in London.
With an MSc in Economics and an MA in Fine Art, his
interdisciplinary approach to art practice encompasses sound, text, video, sculpture, photography and
performance. Gabo deals in multiplicities, often
merging media in order to create hybrid forms of
language. His practice refers to an ongoing research into
the meaning of human nature; explores ideas relating to
concepts of pure and impure; and draws on the
tension between nature and culture, science and myth,
chance and control. This subject has also been
explored in a conversation between Gabo and Hans
Ulrich Obrist titled: ‘On Self Invention in Art’.
Gabo’s research process has resulted in the drafting
of The Glossary, a dynamic list of words and concepts
that attempts to present the human being in its most
current state. The Glossary is a work in progress and will
evolve over time. For each project or exhibition,
Gabo’s artistic production is informed by one or more
words from The Glossary. In the triptych commissioned
by ARNO, he explores the human being in relation
to the socio-cultural and technological contesting which
both the individual and collective body operates.
Gabo’s work considers labour process theory, social
anthropology and debates in contemporary political
philosophy, with the aim of examining the critical
framework in which art operates today. His writing
and performative work has been exhibited at
the Whitechapel Gallery, London, featuring a live
performance dealing in issues of identity, power
and otherness.
In The Geological Turn: Art and the Anthropocene at
London’s Banner Repeater, Gabo staged a collaboration
with scientist and Nobel Laureate Paul Crutzen, artist
and writer Rasheed Araeen, and writer T. J. Demos.
Words in The Glossary such as ‘Self Invention’,
‘Multividual’, ‘Multiplicity’, ‘Monster’, ‘Onanist juvenilism’
and ‘Free Will’ were functional to the development of
texts and images presented in the final works. A translation
process informs the creation of the three presented
works: Lessons, I Picked Up The Silence, A Regression.
The words extracted from The Glossary are in fact
translated and transformed by Gabo into short stories
and photographs. In the final production stage, texts
and images are merged to become a single multi-layered
body.
26
PAUL PHILIPP HEINZE | Germany
Variations on folded states | 2014
PAUL PHIIPP HEINZE | 27
Folded state I
Folded state II
Folded state III
PAUL PHIIPP HEINZE | 28
Folded state I (detail)
Folded state II (detail)
Folded state III (detail)
PAUL PHIIPP HEINZE | 29
BIOGRAPHY
ABOUT THE WORK
Born in Leipzig, Germany, Paul Philipp Heinze studied
at UdK Berlin, ERBA Nantes and HGB Leipzig where he
received a Diploma with honours (MFA) in Media Arts.
Having grown up in the former German Democratic
Republic (GDR), Paul credits the state’s political transition
from socialism to capitalism as a crucial influence on
his socio-critical artistic thinking. Movements such
as Institutional Critique and anti-art movements such
as Situationist International and Fluxus also influence his
post-conceptual approach to art.
For a site-specific installation at the Academy of
Visual Arts Leipzig in 2008, Paul analysed the composition
lines of Frederic Edwin Church’s painting Twilight
in the Wilderness from 1860. This painting ascribes
to the Hudson River School, a mid-19th century
American art movement, embodied by a group of
landscape painters whose aesthetic vision was
influenced by romanticism. The movement paintings
reflected three themes of America in the 19th Century:
discovery, exploration and settlement.
Understanding the concept of an institution as a system
of rules causing a particular social order or a sedimentation
of dynamic social processes, Paul expands the
traditional notion of Institutional Critique by shifting the
focus from inherent topics of the art operating system
– such as museums, galleries and art markets – to the
entire spectrum of the human and non-human existence.
Paul is specifically interested in the misconception of
the ‘first view’, which is inherent in the notion of discovery
during the American settlers’ movement around that
time. Based on his analysis, he developed a 3D spatial
model that he further formulated as a site-specific
intervention for that very installation at the academy.
Paul’s contribution to ARNO is an image-processing
product based on the renderings of the former 3D spatial
models, which again become two-dimensional works
oscillating in a humorous manner towards contemporary
commercial aesthetics.
Paul’s work has been featured in numerous
international exhibitions, and explores topics including
identity construction, post-humanism, the post-internet
economy and cognitive capital through artistic techniques
such as installation, performance and intervention.
He describes his work as bildhauerisch (sculptural), in
the broadest sense, while also emphasising the sensual
qualities of concepts.
30
EMMA HOLMES | United Kingdom
Variations on Equilibrium | 2013
EMMA HOLMES | 31
DIY hands
Pyramids
Orbs
EMMA HOLMES | 32
DIY hands (detail)
Pyramids (detail)
Orbs (detail)
EMMA HOLMES | 33
BIOGRAPHY
ABOUT THE WORK
Emma Holmes was born in Madrid in 1965. She initially
studied Fine Art, Social Science and Literature, receiving
a BA in Liberal Arts from Bennington College, USA,
in 1987. In 2000, she achieved an MA in Fine Art from
Chelsea College of Art & Design, London. Her work
consists primarily of printed and published material
trough the development of two concurrent practices:
studio-based paper works and a self-published biannual
magazine, Schizm. Now in its seventh issue, Schizm,
as the title implies, engages with ideas about discordancy
and paradox. It reflects Emma’s on-going interest in
editing and the ironies inherent in juxtaposition.
Emma’s works for ARNO expand on her involvement
in editing and the sequencing of imagery. Her interest
focuses predominantly on the way ideologies attempt to
shape a homogenous public space through the proliferation
of images, by exploring the discrepancies and
incompatibilities inherent trough their dissemination in
the social space, which in reality is heterogeneous.
For these works she has assembled photographs taken
from books and actual places, as well as digital and
other archival sources, resulting in composite images
guided by the formal elements in the corresponding
subject matter, i.e. orbs, images of hands sourced from
DIY books, and pyramidal structures.
Solo exhibitions include: Emma Holmes, Treignac
Project, France, 2009. Group exhibitions include:
Pigdogandmonkeyfestos, Airspace Gallery, Stoke on-Trent,
UK, 2014; The Fiction Show, Cock and Bull Gallery,
London, 2013; The London Open, Whitechapel Gallery,
London, 2012; Treignac-Alpineum Experimental
Dialogues, Alpineum Produzentengallerie, Switzerland,
2011; Regard Matrixels, Treignac Project, France, 2010;
A Tergo, Limoncello Gallery, London, 2009; Farbe,
MOT International, London, 2004; Tombs Of The
Fantasy Undead, Bart Wells Institute, London, 2002.
Curation: Schizmo, 10 Vyner St, London, 2009.
Her triptych humorously plays with the scale, narrative
and stylistic qualities of these images, editing and
cropping them to balance, and brings them into dialogue
with one another, regardless of their geographically
and historically distinct origins. The triptych employs
a scheme for composing imagery initially used to design
a two-page spread called Pitch, After 87, for the German
publication Public Folder.
34
MATTHIAS KRAUSE | Germany
Treasures | 2014
MATTHIAS KRAUSE | 35
Treasure V
Shiver
Treasure
MATTHIAS KRAUSE | 36
Treasure V (detail)
Shiver (detail)
Treasure (detail)
MATTHIAS KRAUSE | 37
BIOGRAPHY
ABOUT THE WORK
Leipzig-born Matthias Krause trained as
a photographer before he received an MA in Fine Art
from Muthesius Academy of Fine Arts and Design
in Kiel, Germany.
Matthias’s contribution to ARNO is deeply inspired
by his passion for the Japanese ikebana tradition –
its minimalism and emphasis on shape, line and form.
Ikebana aims at creating a moment in which natural
elements can be appreciated that are otherwise often
overlooked, bringing nature and humanity together.
Matthias divides his time between Berlin, Germany,
and Istanbul, Turkey, where his practice roams fields
such as performance, fashion, film, advertising,
music, lecture and tourism. Within these fields, his work
focuses on the isolation of the banal but nevertheless
meaning-producing structures, highlighting their particular
attributes. For Matthias, these serve as models to
contemplate on – a kind of ‘bonsai’ of the everyday life.
Matthias questions how certain appearances become
loaded when a visually captured moment gains
autonomy from its original context or when a simplification
of the familiar accumulates enough qualities to serve as
a model for contemplation.
He exhibited in the UK, France, Austria, Turkey, Russia
and New Zealand, as well as in numerous group and
solo shows in Germany, including Ikebana Figur IV
at Kunsthalle Kiel. Matthias work is also held in private
collections in Europe and Oceania, and he directs
the Black Door Istanbul Project, together with artist
Mark Henley from New Zealand.
Through the medium of photography, Matthias develops
his very own interpretation of ikebana’s concept of
heaven, earth and man, which slightly differs from the
intentions of the Japanese tradition.
Achieving an utterly unique, mystic and poetic result,
his ‘zen-like’ visual contemplations on the human
condition combine the close-up shots of car lights –
produced sometime around the early-2000s – in
Treasure V and Treasure, with the shimmering watersurface of the river Spree in Berlin that formerly
divided the Friedrichshain district of East-Berlin from the
Kreuzberg district of West-Berlin in Shiver. It reminds
us of a time so close and yet so far away.
38
MARIAN LUFT | Germany
Jaylow | 2013 – 2014
MARIAN LUFT | 39
Paris
Jessy
Tops
MARIAN LUFT | 40
Paris (detail)
Jessy (detail)
Tops (detail)
MARIAN LUFT | 41
BIOGRAPHY
ABOUT THE WORK
‘You call me angry razor destructive wannabe bitch,
I call you post-apocalyptic wellness riot witch’ (random
aesthetic generator, M. Luft). Marian Luft was born
in 1983 in Kassel, Germany, and studied at HGB Leipzig
and the Univerity of Applied Arts Vienna. Influenced by
conceptualism and body art, he incorporates contemporary
culture and technology. In 2009 he co-founded the artist
collective Gallery Fist.
#threesome #america #russia
#opposition #agitation #porn #pop
Marian’s work is colourful, shrill and frame-busting and
his use of multimedia invites the viewer to ‘get lost’ to
shift their borders of perception.
His production displays a new young society – a universal
amalgamation of writing, symbols, slogans, gestures,
colours, pictures, codes and digital waste. His work ranges
from online projects and performances to visual art,
sound and installations, where he samples and misuses
technology to create extensive and complex compositions.
His works are dizzying and provocative, recapturing
identity and cultural localisation in an individualised,
normative society whose affiliations and classifications
are no longer detectable for the majority of citizens.
In the series JAYLOW, Marian challenges the liquid
hegemony of the American dream and how it relates to
a simultaneously growing global information supply.
Playing with past modes of role-modelling, fractured
surfaces and digital composition, Marian combines
photography with found and appropriated footage and
uses digital tools to create images full of relish.
For Marian, youth culture, fashion codes and animated
emoticon-texts are indicators of political awareness
in any privileged society.
By reproducing aesthetic trends and neglecting
legibility, he uncovers mechanisms of control that seem
to surround and affect us in our everyday life. JAYLOW
might be perceived as autonomous objects. But eventually
for Marian they are strongly connected and in a constant
flow of communication to the larger field of his artistic
practice. Within this field JAYLOW´s meaning will shift
relating to its point of reference – it is the uncertainty and
precariousness of the past, the present and the future..
42
KALOAN MEENOCHITE | Brazil
Da série entidades temporárias | 2013
KALOAN MEENOCHITE | 43
Entitades temporárias 06
Entitades temporárias 05
Entitades temporárias 04
KALOAN MEENOCHITE | 44
Entitades temporárias 06 (detail)
Entitades temporárias 05 (detail)
Entitades temporárias 04 (detail)
KALOAN MEENOCHITE | 45
BIOGRAPHY
ABOUT THE WORK
Kaloan Meenochite was born in 1983 in São Carlos,
Brazil. He studied Visual Arts at the Centro Universitário
Belas Artes de São Paulo, and his work has since
crossed multiple media within art, including drawing,
installation, photo and performance art. He is a
founding member of Organismo Piknik, an art group that
brings together people in experimental actions in the
field of art and social relations, mainly performing
collaborative interventions in public spaces.
Kaloan developed Da Série Entidades Temporárias
during the artist in residence programme award TAC
Terra Una in 2013. The residency is located in the
countryside of Brazil, about 200km from Rio de Janeiro
in Minas Gerais, Liberdade City. Minas Gerais was
formed mainly by colonists, who from 1693 began searching
for veins of gold, gemstones and later diamonds. This
exploitation helped to boost occupation of inner lands
and led to the foundation of several new villages. In 1697
the Portuguese abused enslaved African labourers
to build the Estrada Real – the royal road – to connect
Rio de Janeiro with the key mining areas of the region.
During the 18th century the mining exploration
was strongly controlled by the Portuguese Crown.
Kaloan is also part of the Voodoohop collective,
a hedonistic group who changed the party scene of
São Paulo, and a founding member of Keroøàcidu
Suäväk, a sound and performance project working with
experimentation of altered states of consciousness,
rituals, experimental music, projections and trance. In
2012 he performed with Keroøàcidu Suäväk at the
end of the 30th Bienal de São Paulo, and in 2013 Kaloan
won the TAC Terra UNA prize.
Based on his research into the tradition of African masquerade,
Kaloan investigated the flora and fauna of the region,
collecting and organising the material found, analysing
different colours, textures and shapes, researching
nuances and differences between leaves, flowers, twigs,
seeds, land, bark, fruits, stones and things found.
His triptych centres on the idea of an entity, something
that evokes an unknown native culture. Based on
his research, he carefully constructs images of beings
and natural entities, through the creation of ephemeral
garments made out of perishable organic materials.
46
SASCHA MIKLOWEIT | Germany
Decorations | 2014
SASCHA MIKLOWEIT | 47
GWOTCSM
GWOTEM
GWOTSM
SASCHA MIKLOWEIT | 48
GWOTCSM (detail)
GWOTEM (detail)
GWOTSM (detail)
SASCHA MIKLOWEIT | 49
BIOGRAPHY
ABOUT THE WORK
Sascha Mikloweit trained in Münster, Düsseldorf and
at Central Saint Martins, London, where he was awarded
an MA Fine Art in 2010. Following an interest in violence,
ideology and aesthetics, his transmedial work
currently uses counter-terrorism as a model to
understand the dynamics of hegemonic structures, and
how their manifestation feeds back into public perception.
Decorations is part of Sascha’s Nonlinear History of
Violence, a speculative investigation into art and politics.
His contribution is inspired by the late 1920s’ concept
of ‘cultural cannibalism’, the attempt by Brazilian
Modernism’s ‘Movimento Antropofágico’ to overcome the
cultural dominance of centuries of colonialism.
Sascha’s work can be strangely beautiful and
subconsciously disturbing. Format and medium are
determined during the process of subject-specific
engagement; most recently, this has involved minutely
interpreting the remnants of an authentic ‘suspicious’
briefcase detonated by counter-terrorism task forces of
the British Transport Police in London.
Sascha has exhibited in South Korea, Canada, the UK,
Austria, Poland and Germany, and in São Paulo, Brazil
with the solo-show If You’re Frightened We’ll Protect You.
His work is held in public and private collections in Europe
and North America. He lives and works in Berlin.
Through digital manipulation, Decorations cannibalises
contemporary US military awards and their (anti-)formalist
qualities as much as the notion of (anti-)formalism
itself. Technically, Sascha retrieved low-resolution PNG
files representing three medals awarded for outstanding
achievements in the US Global War On Terrorism
since 2003 (GWOT Civilian Service Medal; GWOT
Expeditionary Medal for soldiers who served in one of
the 49 countries or 11 sea areas worldwide; and
GWOT Service Medal) from one of the largest online
vendors of US military decorations, and zoomed
in to 17,500%.
The result is a visually seductive, microscopic analysis –
conceptually metastable, oscillating between autonomous
artwork and a representation of the hegemonic system
they are derived from.
50
PAUL O’KANE | United Kingdom
Photiclore | 2014
PAUL O’KANE | 51
#1
#2
#3
PAUL O’KANE | 52
#1 (detail)
#2 (detail)
#3 (detail)
PAUL O’KANE | 53
BIOGRAPHY
ABOUT THE WORK
Paul O’Kane has been working as an artist in London
for 30 years, and studied art to PhD level. Photographic,
writing and moving image practices have long been
central to his enquiries. He also writes for leading art
journals such as Art Monthly and Third Text.
Photiclore #1, #2 and #3 is a development of a longpursued enquiry into ultimate, fundamental and
particular values of photography, which might only be
discovered
by repressing, sidelining or diminishing any presumed,
established or habitually applied values. It is a recent
work in which Paul chooses an arbitrary site or subject
(to diminish any ‘interesting’ or ‘extraordinary’ value
of the content), and describes it using crude filtration
(to sideline any technical valuation of the image.)
Paul’s photography has evolved through the
influence of photojournalism, printmaking, fine art,
philosophy and sculpture as varying contexts.
He also explored photography’s potential to evidence
a psychological condition, as a virtual image
and material object, and as a document of personal,
technical and cultural history.
Significant exhibitions include For The Sake of The Image,
Jerwood Space, London, 2010; There Will Be Others,
Angus Hughes Gallery London, 2012; and So-Called Life,
Camberwell Space, London, 2007.
Despite all these reductions, an image with certain
values and interests nevertheless remains or persists
(as it were ‘against all odds’), though hopefully values
and interests that hover on the edge of comprehension and
articulation, rather than jumping too easily to the mind
or tongue of the currently informed or ‘savvy’ viewer. By
striving to make images that fall outside current systems
of articulation and evaluation, while nevertheless
carefully avoiding complete loss of value, he also
pursues the peculiarly democratic and ubiquitous
historical value of photography as a special art that has
always been potentially of and for everyone.
54
SASCHA POHFLEPP | Germany
The Greatest Show is Leaving | 2011
SASCHA POHFLEPP | 55
1
2
3
SASCHA POHFLEPP | 56
1 (detail)
2 (detail)
3 (detail)
SASCHA POHFLEPP | 57
BIOGRAPHY
ABOUT THE WORK
Sascha Pohflepp is a German-born artist and writer.
In his work and research he aims to probe the
role of technology in our efforts to understand and
influence our environment, extending across both
historical aspects and visions of the future. His artistic
practice more often than not involves collaboration
with other artists and scientists, creating work on subjects
ranging from synthetic biology to geo-engineeringand
space exploration.
The Greatest Show is Leaving is a series of photographs
that were taken at Cape Canaveral on 8 July 2011
during the launch of STS-135 Atlantis, which marked the
end of NASA’s Space Shuttle Program. This event was
significant, not only in the history of space travel,
but also in personal terms for Sascha, who in May 1983
witnessed the space shuttle Enterprise come to his
hometown of Cologne.
Grants and residencies include an EPSRC Knowledge
Transfer grant, 2011; residencies in the Synthetic
Aesthetics project and at the Art Center College Pasadena,
2010. In the autumn/winter of 2013, Sascha was an
artist-in-residence at Eyebeam, New York City. Recent
exhibitions include Bunny Smash, MOT, Tokyo; Grow
Your Own, Science Gallery, Dublin; Talk To Me, MoMA,
New York; and Pre-history of the Image at STUK
Kunstencentrum, Leuven. Sascha holds a Diploma in
Media Art from Berlin’s University of the Arts and
an MA in Design Interactions from the Royal College of
Art London, where he has also been leading the
annual synthetic biology project.
In Florida, standing once again on a viewing platform,
he chose not to depict the launch itself, but instead let the
photographs centre on the rocket plume created
by the shuttle’s solid-fuel boosters. As time passed, the
plume continued to dissipate into the atmosphere until
it was almost indistinguishable from the rest of the
overcast sky, leaving hardly a trace of what minutes
ago had been an overpowering spectacle, performed for
the last time.
58
SCOTT ROBERTSON | United Kingdom
Larry, Moe & Curly | 2014
SCOTT ROBERTSON | 59
Larry
Moe
Curly
SCOTT ROBERTSON | 60
Larry (detail)
Moe (detail)
Curly (detail)
SCOTT ROBERTSON | 61
BIOGRAPHY
ABOUT THE WORK
Scott Robertson studied for a BA (Hons) Painting
at Edinburgh College of Art (1992-1996), exchanged to
Maryland Institute College of Art, Baltimore (1995)
and completed an MA in Fine Art at Central Saint Martins
College of Art & Design in London (2008-2010).
Larry, Moe & Curly were the names of The Three Stooges,
an American slapstick comedy act from the late
1920s to the 1970s. Although they were known as the
‘three’ stooges, there were in fact six or seven stooges
throughout their career. They became highly successful
and were major stars, with their comedy being a
serious business. It is that reality of the comedy that
Scott is interested in – the business of being funny.
He works in a variety of mediums with drawing or
photography having a more conceptually driven aim.
Scott’s work is often focused on his own failings
and this is revealed in the physical work itself, often
technically seen as ‘failing’. It is this failing that
he sees as honesty, bringing with it a pathos and at
times humour.
His recent exhibitions include the Jerwood Drawing Prize,
various venues, 2013-14; Griffin Art Prize, various
venues, 2013-14; Hot 100, Schwartz Gallery, London,
2013; ko-ax, Mascalls Gallery, Paddock Wood, 2013;
In Other Words, Bath, 2013; Pneu, Electro Studios, St
Leonards-on-Sea, 2013. He was shortlisted for
the Jerwood Drawing Prize, 2013; Griffin Art Prize, 2013;
Future Map, 2010; Red Mansion Art Prize, 2010; and
longlisted for the WW Solo Award, 2012.
Scott’s work is three images of balloons – a symbol of
the jovial, light, throwaway and short lived, something
that is not normally taken seriously. Balloons, with
text printed on them, are inflated and captured in a near
portrait shot, almost have a personality. Scott selected
three balloons from the minimum 75 he had to order to have
them made – and photographed them doing as
balloons do. Larry and Moe will remain as straight prints,
but Curly will be crumpled and creased. It reacts
almost like a child: if it can’t get its way it will try to
ruin it for everyone.
62
SHELLEY ROSE | United Kingdom
Three vertical points on an imaginary celestial sphere – Zenith | 2014
SHELLEY ROSE | 63
Vertical_1
Vertical_2
Vertical_3
SHELLEY ROSE | 64
Vertical_1 (detail)
Vertical_2 (detail)
Vertical_3 (detail)
SHELLEY ROSE | 65
BIOGRAPHY
ABOUT THE WORK
Shelley Rose began his artistic career in the early
1970s as a printmaker for the distinguished artist
Michael Rothenstein RA, printing editions at Argus
Studios for the Business Art Gallery and Christie’s
Contemporary Art. He later went on to teach
at Goldsmiths and Central Saint Martins College of
Art & Design in London. His work in abstract print
and still life and landscape photography emerges from
the observation of the quality and character of
light and light phenomena, translated into the medium
of printed colour.
Shelley’s images for ARNO are part of a study
relating to ‘Remnants of a Supernova’, an interpretation
of a phenomenal cosmic event on a vast scale, which
produces colour variations within the visible spectrum. His
work explores the existence of ‘black light’ and how to
make it – or to give the impression.
Shelley lives in Kent, has exhibited extensively in
London including the Royal Academy Summer Exhibitions
and participates in art fairs throughout London and
the South East. He won the John Purcell Paper Award for
Outstanding Printmaking in 2005 and the Aberystwyth
Purchase Prize in 2009, and his work is held in public
and private collections.
Zenith: Three vertical points directly above a particular
location (opposite to the apparent gravitational force) on
the imaginary celestial sphere. A unique alignment
of forces in which gravity pulls the three vertical points
toward the nadir (lowest point). The format used by
Shelley in this instance is a digital colour technique to
display the layering and design for an eventually
more formal work using advanced techniques with raw
pigments. His research continues with experiments
using objects falling through layers of liquid colour.
66
TIMOTHY SHEARER | United States
Si Si | 2014
TIMOTHY SHEARER | 67
springsummerfallwinter fashion
See Siehe C’est
Faelt
TIMOTHY SHEARER | 68
springsummerfallwinter fashion (detail)
See Siehe C’est (detail)
Faelt (detail)
TIMOTHY SHEARER | 69
BIOGRAPHY
ABOUT THE WORK
Timothy Shearer was born and raised in Virginia,
USA, but has lived in Germany for 10 years. He studied
sculpture, painting and German at the Virginia
Commonwealth University and received a postgraduate
degree in media art from the Academy of Media Arts,
Cologne. His artistic practise explores several modes of
production, from analogue to digital painting, music
to sculpture, installation to web-based projects. Timothy
currently has a working studio stipend at the Kölnische
Kunstverein.
Painting is the ultimate undying medium; from
time to time it is declared dead, becomes resurrected,
is killed again – only to arise from the grave. Painting
has become somewhat like a character in a horror film
that simply cannot be erased from existence. When
images are created with a painterly character within
the parameters of a computer programme, the canon
becomes reanimated through simulation. The integration
of text and image, recurring patterns and glitches,
fragment the compositions into a new form of abstraction.
Perhaps it is this type of abstraction that best
resembles our disjointed current moment, interactive
yet dependent on the screens that surround us in our
daily lives. The precarity of being a painter is somewhat
different than that of a digital artist. Instead of waiting
for the next pay-check in order to buy materials,
the digital artist must constantly organise and convert
his data.
70
REUBEN WU | United Kingdom
Svalbard | 2011
REUBEN WU | 71
untitled (Aerial Transport Station, Svalbard, 2011)
untitled (Sousy Svalbard Radar, Svalbard, 2011)
untitled (Fire Emergency Simulator, Svalbard, 2011)
REUBEN WU | 72
untitled (Aerial Transport Station, Svalbard, 2011) (detail)
untitled (Sousy Svalbard Radar, Svalbard, 2011) (detail)
untitled (Fire Emergency Simulator, Svalbard, 2011) (detail)
REUBEN WU | 73
BIOGRAPHY
ABOUT THE WORK
Reuben Wu’s photographs steadfastly sit
somewhere between 1970s’ concept album art,
expeditionary imagery and surrealist painting.
His pictures are made in the real world; however,
through collapsing time and merging processes,
the real is transformed into the surreal, evoking
a response simultaneously familiar and foreign.
The photographs amplify the strangeness of place
and speak to Reuben’s individual experience within it.
Reuben travelled to the Svalbard Archipelago
(600 miles south of the North Pole) in 2011 and spent ten
days exploring the winter landscapes. These images
depict the things that interested him while he was there:
The remnants of his processes – chemicals
dragged arduously across the sensitised
paper surface, infrared film shifting the world’s
natural hues, light leaking into the camera
and hitting the film plane – leave traces of
their varied journeys embedded in the final image.
Reuben’s physical journey is a similar one – he treks
with cameras in tow to places that, for most of us,
are places only ‘explorers’ would go.
Considering the lengths Reuben travels to make
his photographs, the unpredictability of his materials
is not exactly what we’d deem trustworthy.
The resultant images delineate from the expected
photographic trajectory and provide a mode of seeing
that is equally experiential and aesthetically unique.
Aerial Transport Station: Coal mining was Spitsbergen’s
main industry, and the coal was transported around
the island using cable cars. This is an aerial transport
station, which stands disused above the town
of Longyearbyen.
Sousy Svalbard Radar: The remote location of Svalbard
means that there is very little radio interference in
the atmosphere, allowing for many weather and aurora
monitoring operations to function efficiently. This
particular image depicts the Sousy Svalbard Radar,
a mesosphere-stratosphere-troposphere radar
located in Adventdalen.
Fire Emergency Simulator: Longyearbyen Airport is the
northernmost airport in the world. This object is
a mock-up airplane designed to train fire fighters in the
event of an accident. But it seems to represent more
than that. It speaks to the notion of how objects seem
talismanic, symbolising our relationship with technology
and the forces of nature.
It isn’t good because you like it; you like it because
it’s good.
Suzy Menkes, The Circus of Fashion, 2013
ARNO EICHHORN | INFO
Thank you for your interest in our editions! Information on
edition sizes, runs and pricing (Version 10_2015) is as
follows.
Each limited fine art edition print is available in the
outlined sizes, edition runs and prices. Sizes are sheet
measures including margins, except for square
work, which will be the shorter side measure squared.
To order, please use the button on the next page. This
button will direct you to an online order form where you will
be abele to specify for each edition print you would like: the
artist name, title of work, and size (A, B, C, D, E).
If you are buying an entire tryptich of one artist in one
size you will benefit from 5% reduction in price.
Please further state your full name and address, and in
case the billing address differs from the address you
would like the artwork to be shipped to, please specify
both clearly.
We would be delighted to welcome you to our community
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Contact: collector@arnoeichhorn.com
Size A: 21.0 x 29.7 cm | 8.27 x 11.69 inch
Size D: 59.4 x 84.1 cm | 23.39 x 33.11 inch
Volume of edition: 250
Volume of edition: 15
Price per image: €50.00
Price per image: €1200.00
Price per tryptich (-5%): €142.50
Price per tryptich (-5%): €3420.00
Size B: 29.7 x 42.0 cm | 11.69 x 16.54 inch
Size E: 84.1 x 118.9 cm | 33.11 x 46.81 inch
Volume of edition: 45
Volume of edition: 5
Price per image: €120.00
Price per image: €2400.00
Price per tryptich (-5%): €342.00
Price per tryptich (-5%): €6840.00
Size C: 42.0 x 59.4 cm | 16.54 x 23.39 inch
Volume of edition: 25
Price per image: €380.00
Price per tryptich (-5%): €1083.00
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We hope you enjoyed our selection, and we would be
delighted to welcome you to our community of collectors!
If you would like to check the availability of any specific
edition, or if you have any other questions, please don’t
hesitate to get in touch with us.
Please be aware that all images in this portfolio
are digital representations of the original edition prints.
Colour perception, with regards to digital display
devices, is very subjective unless you are using
professionally calibrated equipment. Depending on the
type of display you are using to view this portfolio, it
might vary to a more or less significant degree from the
original print editions.
p.3 Agamben, G., 2010. Nudities. California: Stanford
University Press, here 11.
If you are a corporate client, architect or interior designer
and you are interested in working with ARNO for interior
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This portfolio is an attempt to give you an introduction
to the artists we work with and their artworks produced
for ARNO. But don’t forget, by no means can this
portf­olio represent the pure beauty, shine and quality of
the original edition prints. We’re certain you’ll be delighted
with the physical experience of our artworks.
p.73 Biography by Nicole White.
p.74 Menkes, S., 2013. The Circus of Fashion. T: The
New York Times Style Magazine, [internet] 10 February.
Available at: http://tmagazine.blogs.nytimes.com/2013/
02/10/the-circus-of-fashion/?_r=2 [Accessed 26 March
2013].
Copy editing Brendon Hooper, Munich.
©2015 all rights reserved Arno Eichhorn Fine Art UG &
the artists | unauthorized distribution and copying
prohibited.
Contact: press@arnoeichhorn.com
V_10_2015